Wake Up Little Susie: An Interview with The Shimmering Stars
Hailing from Vancouver, Shimmering Stars is an anachronistic throwback to that era – an era sandwiched between the birth of rock n' roll and the rambunctious medleys of Bo Diddley and the beginning of the sexual revolution – where music was made in your parents garage and topics about sex, death and drugs were coated with infinite layers of sugar. The music recalled first night stands in the backseat of old Chevys and bad kids with switch blades and leather jackets, and of course James Dean. After watching old demos of the The Everly Brothers and deciding to start a recording project, the Shimmering Stars are bringing back the same sucrose-induced ethos with their recently released LP entitled Violent Hearts (Hardly Art). Violent Hearts, a masterful fistful of songs about heartbreak, loneliness, murder and love, sounds a little like it could be the greatest hits record of some rare short-lived band that burned out in the 60s, but thank goodness its only Shimmering Stars' first album. Pas Un Autre got a chance to ask Shimmering Stars about their unique musical motivations – read the interview after the jump.
So I read somewhere that you started your band only about a year ago after you saw some Everly Brother's footage….what was it about the Everly Brothers that was so inspiring? The Everlys played pop music in its purest form, in my humble opinion. They wrote some of the most timeless, memorable melodies in pop music. Their love songs make me melt and their breakup songs are devastating. Also, they’re interesting in the sense that they were at the centre of various genres that converged during the late 50s: rock n roll, pop, country, crooner pop, and rockabilly. I think they were the best at what they did. Plus, they wore matching suits and looked fucking great!
You guys are getting a lot of buzz after only a year…how does that feel? We’ve been playing music for years and years so it doesn’t feel like it happened overnight. But, to be honest, it feels pretty vindicating to receive a bit of attention – especially after toiling in obscurity for so many years.
SHIMMERING STARS – I'm Gonna Try
[audio:http://www.pasunautre.com/wordpress/wp-content/uploads/2011/09/02-Im-Gonna-Try.mp3|titles=02 I'm Gonna Try]
There seems to be a lot of darkness just beneath the surface of a lot of the music from the 50 and 60s - why do you think that is? Because at this time musicians were very constrained as to what they could express, but of course they experienced the same range of emotion – from nice pretty emotions to dark twisted emotions – that we do now. So you really have to read into the music and make some inferences as to what the impulses behind the songs were. This to me is a really exciting process. To take the Everly Brothers as an example, they adopted all the popular affectations of the time – unrequited love, heart break, ‘Johnny stole my girl’ etc. They communicated in a way that was acceptable and palatable to people during their time. But if you look closer there are all kinds of emotions under the surface - intense yearning, sexual longing, misery, and violence. At least that’s how I interpret it.
What are some of your favorite bands from the 50s and 60s? Bobby Fuller Four, Everly Brothers, The Coasters, The Crystals, Del Shannon, Bo Diddley, ? and the Mysterions, Wolf Nebula!!!, The Drifters, Buddy Holly, The Ronettes, Frankie Laine, Beach Boys. I could on for days.
The name of your debut LP is Violent Hearts where does that title come from and what inspired the band name? The term ‘Violent Hearts’ refers to some of the themes on the record, which I think are pretty representative of a lot of the things that people my age are dealing with. The term ‘violent’ is sort of a blanket term for feelings of restlessness, anxiety, uncertainty, displacement etc. The basic themes on this record concern the very specific dilemma that a lot of people in their 20s experience these days: having limitless potential and freedom but feeling crushed by the possibilities; being conscious of the privilege that we are lucky to enjoy but also feeling miserable, anxious, and depressed - and feeling guilty about all of this; existing in a state of suspended adolescence where a lot of the markers for what we should be doing with our lives have disappeared. As far as what inspired the band name – it was pretty last minute to be honest. There’s really no other explanation than I thought it sounded kinda cool. How lame is that?
So, whats going on right now thats the most exciting for Shimmering Stars? Our record came out in North America on Sept 13th, so that’s pretty exciting. We also just returned from our first European tour – our first tour period, actually. And for me personally, I’m excited to start on new material and explore new directions for this project.
Whats next? Education 311: Principles of Teaching Social Studies. 10:30-12:30pm.
Pick up Shimmering Stars "Violent Hearts" here.
Text by Oliver Maxwell Kupper for Pas Un Autre
Beautiful Translucence: An Interview with Photographer Lena Modigh
There is a delicate and beautiful translucence about the images of London based, Swedish born, photographer Lena Modigh. With a softness of light, Lena weaves an deceivingly imperceptible gossamer, like a veil between romance and secret desire, in what seems more like stills from a movie than actual photographs – and maybe thats because of her background in film. Pas Un Autre got a chance to ask Lena a few questions about her background, inspiration, and what she's working on now.
So, who is Lena Modigh - where are you based? At the age of nineteen I fortunately managed to avoid a career in Stockholm banking and instead fled my idyllic Swedish homeland for New Zealand. Soon after I set my sights on New York, where I resided for several years, working in the film industry. I became more and more fascinated with still image so decided to study photography in London, where I settled and after a few years assisting started shooting my own work.
Can you remember the first image you ever took? It must have been a photograph of a big rock in the backyard of my Elementary School. The project was to photograph something and then choose the music for that picture. Very exciting!
What brought you into photography? My Dad was a happy amateur, taking very close-up pictures of flowers, me, my brother and mother, and of trips that we made. Then about once every other month we would have a slideshow, a bit like a movie night. I think that must have started it.
What are some of your biggest inspirations? Patti Smith, Sara Moon, David Hamilton..women.....travels....and music.
If there was one thing you would to communicate through your photography - what would that be? A sense of feeling.
Are you working on anything thats the most exciting right now?An exhibition with illustrator Sagah-Maria Sandberg.
Whats next? Hopefully loads of commissions that involves travelling.
Text by OLIVER MAXWELL KUPPER for PAS UN AUTRE
visit: www.lenamodigh.com
Naive Melodies: An Interview with RAZIKA
Even though they might not look it they are total badasses. Razika, an adorable band of outsiders from Bergen, Norway, are an anomalous youth quake unto themselves. Whilst their first album, Program 91, is full of beautiful and rebellious naive melodies, its all too soon to tell how long the high will last – and they haven't even toured the U.S. yet – which they plan on doing this Fall. Nevertheless, for a group of girls born in the early nineties – when grunge was still in in its impetus and a war in Kuwait blared a distant, televised firework show in night-vision – Razika's first album is an impressive landscape of angst, love, and longing painted by a group of girls wise beyond their years. Having been playing music together since they were six years old, Razika had already years of musical chemistry between them when they started their band in 2005 – and they admit that it wasn't until two years ago that "things started getting serious." Now in their early twenties, the four girls of Razika are experiencing a tidal wave of critical success for their first album, which was recorded over the course of a year on the weekends, and was released only a few days ago, an album that could very well be part of the soundtrack to a tumultuous year that will no doubt be remembered when the youth of the world prevailed – in art, in rebellion, and even in war.
Photograph by Elrik Lande
I heard the name of your bands comes from a code word to describe a cute guy? Correct...We were fourteen/fifteen and needed a codeword for all the cool and older guys we saw. We didn't want them to think (or hear) that we either looked at them or talked about them, so we came up with Razika. And when we started the band, it was natural for us to use that name – "our name". Actually, Razika was a really weird and funny girl at our school and we thought her name was so catchy that we just started using it.
So, who is everyone in Razika? Can you introduce yourselves? Embla Karidotter on drums and backingvocal, Marie Moe on bass and backingvocal, Marie Amdam on lead vocals and guitar, and Maria Råkil on guitar and vocal on some songs.
How long have you all been playing music together?We have been playing for five whole years, but it's not until two years ago that things started getting serious. Our manager now, Mikal Telle, came to us back then and started helping us, giving us advice and so on. He released our very first EP (Love is all about the timing) knowing he wouldn't earn anything from it, but he believed in us and told that if we wanted to get somewhere with our music, we should start practicing more and work harder. Set goals. And that's exactly what we did.
"....It's easier to write songs when your heart is broken...."
What are some of your main inspirations? Influences? Our main inspiration comes from life itself. Our life. 20 year old girls' experiences about love mainly. You know, not getting the "Razikas" we so badly wanted/want. Being too young, keeping secrets from our parents, skipping school, going out, being thrown out...It's easier to write songs when your heart is broken, you have so many feelings you want to get out. We wouldn't exactly explain our lyrics as jolly. The're sad, but honest, songs. And that's why we like the fact that our melodies bring positivity to it all. Our influences are mostly Norwegian rock and new-wave bands like The Aller Værste, The Pussycats and Program 81. As you see, this is where we got our album title from. But we changed it to '91, since we're all born that year. But we're also very influenced by ska. Love the Specials, Madness, Bad Manners and so on. And then of course we like the typical so called indie music, like The Strokes and Arctic Monkeys. These are the bands that inspired us to even start a band together. We wanted to play rock, then punk, then pop, then indie, then ska...we went through phases and found our sound on the way.
Some of your songs on your new album are in English and some are in Norwegian. How is it writing songs in two different languages - Is it easier or harder – do you think that helps reach a wider audience? We don't have any specific reasons why we write in two languages. That's just how it is. We started writing in English, which is really the most normal thing to do even though you live in Norway, but then later found out that writing in our own language made us write more honest songs. It sounds so real and it hits you in the face when we sing in Norwegian, but English is a universal language and we're so influenced by it all over, that sometimes the lyrics just literally comes out in English. What's funny though, is that our most popular songs abroad, are actually the Norwegian ones.
What was it like growing up in Norway? Just to be born in Norway is like winning in lottery, and Bergen is both the most beautiful and coolest city in Norway. We have the biggest music scene, and Razika is s result of this.
Your new album is called Program 91 - where does that title come from? As we said, it was a new wave band from Bergen who started in '81. We found an old record of them in Maria's cellar, where we used to rehearse, and we loved it right away. We actually used to put the record on before we started practicing, so we would get inspired. Program 81 was in fact the band who made us realize we had to start singing in Norwegian.
Photograph by Rikke Laeng
I'd be remiss not to mention the recent devastating terrorist attacks in Norway. What is the general psyche of the country right now? A month has passed now and even though the grief and sorrow is like a blanket over our country, Norway, as one, has never been stronger.
Your songs are so full of youthful angst and rebellion. Can each of you recall your first kiss? First heartbreak? Yes. First everything...
You have a US tour coming up. Any fears or expectations? No fears, this will just be a fantastic experience! We're looking so much forward to it, we can't wait!
Whats next for Razika? Better things. Just you wait and see.
Razika's new album Program 91 is out now on Small Town Super Sound Records.
Text by Oliver Maxwell Kupper
ANALOG NOT DEAD: THE Photographic Diary of Marija Mandić
Marija Mandić, a twenty year old photographer from Novi Sad, Serbia, is finding a unique photographic voice with visually arresting images of her own inner life. Her photography is so personal at times it is hard not to feel like you've opened some kind of diary, but this is exactly what makes Marija Mandić's work so interesting, because she has invited us to look. And through the blur, the dust, the sometimes overexposed and sometimes underexposed – with forgivable, purposeful intention, but much more owing to the the unpredictability of analog – we are offered a rare glimpse into the life of a young artist embarking on an even more unpredictable odyssey.
Can you tell me a little about your inspirations and influences? I find inspiration in people that surround me in my everyday life. Lately I made some changes in my style, I think it’s not obvious yet, but it will be. I like my photo diary and I don’t want to stop doing that, but I have some new ideas about my photography.
Who are some of your favorite photographers? One of my favorite photographers is definitely Lukasz Wierzbowski, and beside him I really like Synchrodogs, Sam Hesamian, Margaret Durow, Lina Scheynius and of course Martin Parr, Diane Arbus and Sally Mann.
What was it like growing up in Serbia? When I think about it, it wasn’t that bad. I had a safe childhood in the countryside and an interesting life in the city when I was younger. These were the good days, and I would love to remember only that, so I can say it was okay.
Who are some the reoccurring subjects in your photographs? My friends, my boyfriend, my mother and my grandmother Anka. They make my everyday life, and I love to catch moments that I spend with them. There are more people, like my younger brother, but he doesn’t like to be photographed. I have that luck, that all of them are really beautiful and photogenic.
Can you tell me a little bit about CircleE? CircleE is one and first in a series of the projects on which I am working on with my friend, also photographer Marija Kovač. We are working on CircleE with Aela Labbe, who is great photographer from France. CircleE is a project which goal is communication among young people through photography. Content of each photo is associated with the previous.
Whats next? I am working on one big project with Marija Kovač and Lidia Teleki, my friend who is involved in production. I rather not say anything about this, but you will sure be informed when the project is over.
site: MARIJA MANDIC
text by Oliver Maxwell Kupper for Pas Un Autre
DON'T CALL HER ALASKA: An Interview with Marlowe Tatiana Granados
London based photographer Marlowe Tatiana Granados is a chronicler of moments, a diarist, and her work is a visual collage of the moments of her life. Through her zines, such as the hedonistic title Petite Anarchy, and her first book, I Am No Longer Alaska, published by RVCA and now exclusively available at Colette in Paris, Granados is a visceral artist who is not afraid to bare her soul to the world. Concurrent with the release of her first book, Granados is exhibiting her photographs alongside David Mushegain at the Don't Call it Cool show now on view at Colette until August 27th.
Do you remember the first image you ever took? My first photo was when I was really, really young, it was probably of a cat.
What are some of your inspirations? Vengeance, beauty, natural light, limerence, humour.
How does it feel to publish your first book of photography? So, so grateful. David Mushegain really encouraged me to have it ready to run concurrently with his exhibition at Colette. The idea had been in my mind for a while and I had started to put it together. I was so anxious before I got to see the final version in Paris, I had nightmares that the printing order was wrong! The book is incredibly personal to me, it's dedicated to my mother. It's much more of a visual narrative than a book of my photographs, it's a lot more intimate.
Where does the title come from? The title references Stephanie Says by the Velvet Underground, you know, She's not afraid to die/the people all call her Alaska...When you're really young you have a foolish sense of recklessness, this really romantic idea of being untouchable. The book is about the change, when you realize you've lost this kind of invincibility whether it's due to events out of your control or just time. I guess, figuratively "melting", but also looking back with fondness.
Each photograph is accompanied by a text, which one is your favorite? "WE WERE ALL DANGEROUS ONCE"
www.marlowetatianagranados.com
Text by Oliver Maxwell Kupper for Pas Un Autre
VHS SEX: An Interview with Com Truise
Com Truise's electric panoply of radioactive synth driven melodies is picking up where the likes of forefathers of synth-pop Geogio Moroder, Harald Grosskopf, and Kraftwerk left off. In a nostalgic, yet with a uniquely contemporary cleanliness, listening to the carefully crafted songs of Com Truise is like unearthing some kind of long lost record from a time capsule which has been hermetically sealed in the center of the earth for the last 20 years. Combining vintage synthesizers with advanced modern day technology Truise proves to be an alchemical artist–even with the briefest listen it is absolutely safe to assume he is a master of his craft. And like his current alias is a play on words (other aliases include Sarin Sunday, SYSTM, and Airliner), Cruise's music is a play on music itself, because each dark and psychotically ethereal audioscape is the mark of an obsessive who is pushing the limits of modern sound. Jean-Jacques Rousseau is famously quoted from his Dictionary of Music, "Could we not imagine that noise...is itself nothing more than the sum of a multitude of different sounds which are being heard simultaneously?" Which brings us to the eternal question: what the fuck makes music in the first place. Com Truise was born Seth Haley in the suburbs of upstate New York where I can easily picture him in his childhood room surrounded by the ubiquitous sounds of early Nintendo and the synthy intros of countless low budget tv action shows like Quantum Leap and Night Rider. Or even the soft-corn porno's of Emmanuel, because Com Truise's music would make the perfect score for a sex scene in the rain. In June, Com Truise, who makes what he calls “mid-fi synth-wave, slow-motion funk” out of a tiny apartment in Princeton, New Jersey, released his first full-length, entitled Galactic Melt. Pas Un Autre contributors Abbey Meaker and Sean Martin caught up with Com Truise, who is currently on tour with the Glitch Mob, when he made a stop in Burlington, Vermont to ask a few pressing questions.
Is there a special synth you are mildly attached to? Right now? I just picked up an Octocat – I’m pretty sure mine is form 79. I picked it up in Austin on tour and incorporated it in a live show the next day, so I am really excited to record with it, because I don’t really have my writing situation figured out on the road.
That leads into my next question: Recording or live? Recording. I am much more of a producer than a performer. It’s just me on stage right now so there is only so much to look at. I move around as much as I can but on this tour I can't really do visual [editors note: Glitch Mob, with whom he is on tour, already uses heavy visuals in their act]. For my next tour I am going to have a drummer. If it’s just me and a drummer it will be so much better. I am super excited for that.
I know you design your tee shirts–do you think the total package is necessary? Am I going to see you in a helmet or some face paint anytime? I am going to have a special suit built. Not a full suit–just a strange jacket a pants. Future World Orchestra, on their album cover, they look like Jedi’s and that kind of inspired the idea.
Hyphenated phrase describing Com Truise? Slow motion synth wave funk. That’s usually how I describe the long of it. The short of it I just say synth-wave.
Do you sit down to work or do you wait for inspiration? Before this tour I was in the ad industry for 5 years, and the last position I had was the creative director for a pharmaceutical agency. What learned in advertising has given me one leg up in this sort of thing because I am so picky about branding. Your creative freedom is squashed. When I go home I erase the extra pressure but keep the brand in mind.
Europe or North America? I’ve only had the opportunity to play in Sweden. I will be in Europe for November, so ask me then. I have been on tour since June. I love North America, but the way I kind of explained it, just talking to a friend–not about music but about traveling in general, the United States is one giant different culture. Wherever you go there are the same things.
Necessities on the road? Whiskey.
Brand? Jack Daniels or Buffalo Trace, clean socks, American Apparel tee-shirts.
What VHS is currently in your VCR? James Bond Golden eye. It was the last VHS tape I recorded. That and Groove about the rave culture.
Do you feel like romance fits into your music? There is something hot about your music. I think I have that in the back of my mind and I try to put in there, but I don’t always bring it to the forefront. Some songs I want sexy and some songs I want dark.
You mentioned you’re influenced by the Cocteau Twins. What decade do you think you should have been born in? 26 in '85 or '86. That’s where I go to look for inspiration. I go to that time period and usually find what I'm looking for. Being able to go to the record store the day the record came out would have been unreal.
Future aspirations. Do you want to do soundtracks Video soundtracks? Scoring films. We’ve been talking to a few people about working on video games and producing for other people. Video game soundtracks are right up my alley. I will always try to inject my sound as far in the world as possible.
Intro text by Oliver Maxwell Kupper Interview by Sean Martin Photography by Abbey Meaker
Psychedelic-Tinged: An Interview with RINGO DEATHSTARR
Recognition for the psychedelic-tinged, lush shoegaze sound of Austin band Ringo Deathstarr has grown steadily over the past five years. Diehard fans are now joined by music journalists and bloggers worldwide in singing the praises of the trio after a stellar performance at SXSW and the release of their first full-length album, Colour Trip. The members include Elliott Frazier (guitar and vocals), Alex Gehring (bass, guitar, and vocals) and Daniel Coborn (drums). Recently, Elliot was kind enough to take the time to answer some probing questions from us via email about the origins of the band, their influences, and some of his own personal likes (i.e. Tokyo and an early 90s Kim Deal)…
When and how did Ringo Deathstarr come about?
It was 2005 and I was tired of watching really crappy bands, and at the time the popular trend was really folky type music—acoustic guitars, long slow boring songs, really quiet. I was just done playing drums for years and years and getting nowhere really, so I decided to play the guitar myself and sing myself. The hard part was finding the right people to do it with!
Where does the name come from?
We were into the Brian Jonestown Massacre and it just seemed to be in line with that sort of thing, and the Dandy warhols.
Who are the members of your band and what do they play?
Elliott Frazier - guitar and vocals.....Alex Gehring - bass, guitar, vocals......Daniel Coborn - drums
What is your band dynamic like? What bonds you together?
We have a sense of humor. Also, when we are on the road, half the band is asleep at all times when we are in the van, so we don't argue about much.
What is the songwriting process like?
It varies from song to song. Sometimes it writes itself. Sometimes it takes months, and other times 5 minutes.
Who are your musical influences?
The music press says we are influenced by My Bloody Valentine and Jesus and Mary Chain, but once upon a time I listed to Stone Temple Pilots...of course you’ve got Brian Jonestown Massacre and And You Will Know us By The Trail of Dead, the latter of which we will be supporting on the West Coast this June!
Are you influences by other sources, movies, art, pop culture, etc? If so, what?
Movies are an influence for sure. I collect VHS tapes.
Are your songs based on real life experiences? If so, can you give an example?
Yeah, this one time I was in love with a girl. Sometimes she made me glad, sometimes she made me sad. I write about that sometimes.
Who are some of your favorite authors?
Whoever wrote the Hank the Cowdog books.
Who are some of your favorite filmmakers?
Jerry Bruckheimer and Michael Bay
Artists/Photographers/others?
I used to fancy myself as a photographer and I wanted to be Charles Peterson. Ed Moses is a cool artist.
If you could live in any other era in any city in the world, when and where would you live?
In feudal Japan. In Edo.
What is your favorite city to play?
Tokyo without a doubt.
How do you like Austin?
Austin is very cool. I’ve been to a lot of cool cities and I almost would say I would never live in another USA city. But it is getting expensive to live here so when it gets too expensive I will live out in the desert.
Who are some of your favorite bands to play with?
The Flying Eyes are pretty fun to play with, really nice guys who know how to party. The Wedding Present was also great. And how can we forget Ume—our hometown heroes!
Do you have any musician/celebrity crushes from past or present?
Kim Deal in the Safari Video
Tell us about your new album!
Well, it is just some songs that we made, each one a little different, because we don’t like it when every song has the same vocal sound, same guitar sound, same drum sound. So, it is a musical journey through a few different sounds and colors. Some people might even go so far as to call it NU GAZE or something. But, to us it is just our first album, and we are having fun playing it and we are glad people are diggin' it.
Ringo Deathstarr begins a U.S.-European tour June 13, 2011. Find tour dates on their facebook page.
TEXT BY ANNA WITTEL FOR PAS UN AUTRE
Sinister Sights: An Interview with Gabriella Marina Gonzalez
Gabriella Marina Gonzalez's accessory collections are exuberantly sadomasochistic and by turns contradictorily flocculent on account of her cosmic balance of mixing knit and leather. Gonzalez, who is based in London, is onto her fourth collection, entitled Sinister Sights in Synthetic Moonlight, for her eponymous, made to order label. Pas Un Autre asked Gabriella Marina Gonzalez a few questions about her new collection and whether we should be prepared for some kind of apocalypse.
Can you tell me a little bit about your new collection Sinister Sights in Synthetic Moonlight?
A/W11 'Sinister Sight in Synthetic Moonlight' was inspired by what I imagined the hallucinatory aspect of having sound provoked synesthesia could be like and the video accompanying it by Sean Wild on my website was meant to give a visual experience of it. * Editors note: sound provoked synesthesia is a neurological phenomenon in which certain sounds trigger color and simple shapes that arise, move around, and then fade when the sound stimulus ends.
Your leather harnesses and masks almost look like armor, is there something we should be worried about?
I don't think I'm the only person who can feel a battle approaching. I think there are thousands of people out there just like me who are preparing for a universal change.
Theres a quote in your bio that says you are trying to "set an example against wasteful mass production and relieve.....'the identity fraud that high street brands convince the insecure to consume." Can you elaborate on that?
Yes, I think there is an element of consumerism that is based on wanting 'things' to bring worldly comforts and ease an insecurity about a lack of identity and a need to fit in to something to feel safe. Its a form of brain wash and I think is very dangerous. As a designer I am ultimately creating an item to be consumed so it is very tricky but I'm not pro missing anyone any untruth. I only want people who feel drawn to the work for untarnished reasons to be interested in it. Not because of celebrity endorsement and things of the like. This is why I make everything by hand because It makes me feel useful, like I am providing an art form to people.
Whats one thing you've never told anyone before?
I have no filter. I tell anyone anything I am feeling even if it couldn't possibly wash with them or they think I have a screw loose because there is nothing more pure than true honesty.
Where do you draw inspiration?
On a sheet of paper.
Do you have a favorite quote, motto?
Yes I think one has to trust their instinct–not push it aside.
In what kind of world or landscape would everyone be walking around in your designs?
I don't consider my work a fantasy, I think its very much a reality as it is based upon my truth. Everyone is walking around in my designs because everything is everything and we are all one energy and consciousness. We are just a little out of touch right now.
Whats next for Gabriella Marina Gonzalez?
I guess we have to have patience till the next chapter of the story.
Visit Gabriella Marina Gonzalez's website to see more of the collection and more.....www.gabriellamarinagonzalez.com
Text by Oliver Maxwell Kupper for Pas Un Autre
Not Taking the Piss: An Interview with The Rodnik Band
Lets tap into the strange and brilliant mind of Philip Colbert–designer and founder of The Rodnik Band. Marketed as an "ironic pop band," Colbert has built a bridge between art and fashion, à la Yves Saint Laurent's Mondrian dress or Peggy Guggenheim's Calder earrings. The Rodnik's Band's latest collection, "Venus in Sequins," which saw its debut at London Fashion week, is a tongue in cheek, satirical exploration of some of the most iconic works of art sartorially adapted into incredibly intricate wearable sculptures. At face value, Colbert's designs are comical and verge on the absurd, but on a deeper, subatomic level they are definitive statements that respond to the basic foundations of the business of making art and fashion. And as if to validate, or maybe offer whiffs of irony, Colbert's wearable art has been getting the approving nod from industry giants such Ana Wintour to Karl Lagerfeld. Ironic because Colbert is seemingly lampooning the lavish ridiculousness of fashion, especially couture, that designers like Lagerfeld have helped define.
After studying philosophy and art history from St. Andrews University, Colbert went into the business of selling Russian scarves and in 2005 founded the Rodnik Band with no formal fashion training. After six years of chopping his axe as a designer in the cut throat arena of mainstream fashion, with his collections showing around the world and carried by the best retailers, Colbert was seeking more meaning–in essence "....to create a more meaningful approach to fashion. [And] was less interested in the trend of fashion for fashion sake, the smoke and mirrors style of trend based fashion, which is repetitive, cyclical, and often devoid of meaning." As we were still curious, Pas Un Autre asked Philip a few questions about art, pop culture, fashion, and The Rodnik Band.
The Rodnik Band is not presented as a traditional fashion label, but as a band. Why is that?
I present the label as a Band, because I was inspired to break the mould and present fashion in a new way. I was inspired by the cross over between fashion and music, and wanted to create a new cross over concept.
Can you tell me a little about your current collection, Venus in Sequins?
I wanted my artwork dresses to sparkle so they are made using intense sequin embroidery, which takes over three weeks of hand work per dress. I wanted to created wearable POP art with requisite hand crafted detail. They are a hybrid product, they stand in no mans land between the two established genres of art and fashion. I see them as a step in establishing a new conception of clothing as wearable art. I was inspired to create clothing with clear artistic expression. I found good past examples of this concept in the Ballet Rus, where Picasso and De Chirico designed costumes which are unquestionably great artworks, and take their painting styles into a different and exciting dimension. The graphical style of the dresses are unique as I create my own artwork interpretations of each inspiration (such as the soup can) and create lino block print to simplify and recreate the image by my own hand, allowing mistakes and giving the work my visual identity. The Naive black lines create a more satirical rendition on the idea and add a sense of humor. Sequin work is then added on top of the print artwork to make it sparkle. I use mostly silk, such as Duchess Satins and Georgette's, and Cashmere as a base. Then hand sew the sequin work on top.
On your website you say that you are inspired by Marcel Duchamp and Pop Art. Andy Warhol said in an interview once that "Pop art is about liking things." Its fairly vague, but what do you think he meant by that?
I was interested in the way POP art communicates, unlike many art forms it it relevant and accessible to people from all walks of life, it draws inspiration from the culture we live in, and is a very strong form of visual communication, it is essentially very democratic and connected with peoples lives. Similarly I think Warhols quote may have meant that it is a positive form of artistic expression.
"I feel the industry takes itself to seriously
and is in danger of missing the creative spirit
that makes it a higher art form
with expression."
If Marcel Duchamp were alive today what would he think of art in the 21st century?
If Duchamp were alive today, he would probably start painting like like the old masters, I remember a quote, which goes something like, "those that created Religion would be the same people who tear it down".
Pop Art is a reaction to current popular culture or the zeitgeist. The Rodnik Band borrows from a lot of zeitgeists of yesteryear. Is The Rodnik band a response or a statement? Or both?
The Rodnik Band is both a response and a statement. I feel the industry takes itself to seriously and is in danger of missing the creative spirit that makes it a higher art form with expression. I like the idea of breaking the conventional mould.
How does one stand out in a world where every one is trying to stand out? Is too much individuality bad for art?
To much of anything can be bad, I don't think we have to worry about to much individuality for art, the majority of people will always follow the crowd.
You studied philosophy originally. What brought you to fashion?
I came into fashion in the spirit of unexpected adventure, and i always was inspired by that, it was never something i would have expected myself to work in. I have tried to create a direction and way of working that inspires me. I like the quote from Oscar Wilde, "We Should all be either a work of Art, or wear a work of art".
Whats next for The Rodnik Band?
New wearable artwork collection which is aimed at further developing the concept, a diffusion line to take Rodnik to spirit to more people, and more songs of course .
You can find pieces from the Venus in Sequins collection for sale here or visit www.therodnikband.com
Text by Oliver Maxwell Kupper for Pas Un Autre
An Interview with Jesse Ruins From Tokyo
Who is Jesse Ruins? No one seems to know. But, does it matter? Three brilliant songs have been released slowly over the past six months–Dream Analysis, Inner Ambient, and Sofija–each one just as good as the last. While we don't know what Jesse Ruins looks like-we do know Jesse Ruins is from Tokyo and has put out a collaboration record on Cuz Me Pain records. In regards to the mystery–Jesse Ruins maintains "that [he or she] is not doing this intentionally." There are no plans for a record release, but it seems as if a great record is tantalizingly just out of reach–perchance the next great buzz album of 2011, or maybe even 2012. And so we wait and fall right into Jesse Ruin's web. Despite the mystery Jesse Ruins was nice enough to answer a few of Pas Un Autre's questions.
You go to some lengths to remain mysterious, anonymous even - why?
Well, I'm not doing this intentionally, but I'm just trying to remove unnecessary information.
Will you ever divulge your identity - or will you be anonymous forever?
It will come out when it's the right time. I even don't know when it's going to be.
Do you have an album coming out?
I want to release it, but there isn't any specific plan yet (label and stuff like that) at the moment.
All anyone seems to know is that you are from Japan - true or false?
It's true, I'm living in Tokyo.
How would you describe your music?
I cannot describe it in words, so I do that through my music. I think it's really up to each listener how he/she feels about it.
Keep updated on Jesse Ruinshere
Text by Oliver Maxwell Kupper for Pas Un Autre
Colorless Murder: An Interview with Aoi Kotsuhiroi
Aoi Kotsuhiroi, who has released the new chapter of her Exotic Regrets collection, entitled Colorless Murder & Silent Wolf - Aoi sends Pas Un Autre a message each time a new collection or chapter is release - is nothing short of stunningly beautiful. Her collections indeed recall a mystic, other worldly plane. Infused with breaths of haikus, lyricism, poetry - oft times human hair, bone, and leather - her pieces are certainly beyond simple accessories - body accessories could explain it better, but it is much more. And because Aoi Kotsuhiroi is mysterious herself, a name or a categorization is even harder to attain. Aoi Kotsuhiroi was kind of enough to answer a few of Autre's question regarding the new chapter.
You just released a new chapter of your new collection entitled Colorless Murder and Silent Wolf. Can you tell me about the new collection?
The chapter Two of Exotic Regrets continues this 'relationship' that has begun in the chapter one... A number of characters find their place in the chapter two. Signs indicate that something happened or is going to happen... The images write a waiting, an in-between, in the middle of somewhere...
Each one of your collections, it seems, tells a story and you release each collection by chapters - the first chapter of the new collection Exotic Regrets was released a few months ago - just recently you released a new chapter. What is the concept behind releasing the collections like that? Is it for the anticipation?
There is no 'concept', no 'calculation'... Just affect and subject. I'm in the moment.
I also see a lot of poetry infused in the identity of the collections - are you a poet?
Yes, it's like breathing.
Can you tell me your poetic influences, inspirations and who is your favorite poet? Do have a favorite stanza?
I do not want to do any 'list', I find it boring and a bit simplistic perhaps...I like that has no "name", lost, which belongs to nobody, that we can not lock up or put in a category or a style. I have a short native american song in my mind:
"I walk in the sky I go with a bird "
And then:
"The clouds change"
You use some way out there materials; namely, human hair, horn (for the heels), and bone. There is actually something quite tribal about it. How did you get into those materials?
The materials are a language, they are a story...With them, in silence, and dialogue, a relationship is going and take shape...
In terms of fashion, who or what are come of your fashion influences?
I do not watch fashion, it bores me ... The influences are 'crutches', I walk alone by doing my own mistakes which are mine ...
Whats next for Aoi Kotsuhiroi?
The chapter three is on the road...
See Aoi Kotsuhiroi's designs here. Text by Oliver Maxwell Kupper.
The Ubiquity of Tattoos: An Interview with Cris Cleen
The ubiquitous proliferation of tattoos in today’s mainstream culture has peeled away all but every layer from the archaic notion that tattoos are taboo. Tattoos, let’s face it, have become commercialized. But if you dig your hands through the pile, you’ll find a new tattoo niche that harks back to the good ol’ days. A time of pre-world war industrial bliss…where hands were busy and sweat glistened proudly. It was a time when things weren’t necessarily easy, but you got the work done and didn’t quite worry about the unending mystery of the ever expanding universe. It was an era where tattoos were an earned folk art tradition. For sailors, long odysseys into uncharted hemispheres granted coveted sparrows, like badges, and crudely drawn women with seductive eyes are scrawled three layers deep into flesh to memorialize debauched, forgotten nights in remote tropical isles. Today, there is a new band of misfit tattooists keeping this tradition beautifully alive. Last Monday I got a chance to sit down to talk with tattooist Cris Cleen.
When I got to Idle Hands Tattoo, in the Lower Haight neighborhood of San Francisco, he was hunched over an angled draftsman table sketching intently. Like an author of a novel would give a name that alludes to a character'sphysicality or persona, Cris Cleen was....well...very clean and well dressed – dapper even. His style of dress is a throwback to a distant, nostalgic era. It’s the era you see in black and white photographs of 1930s street hoodlums, bootleggers, and dust bowl wanderers. I should mention though, that Cleen is far from a Luddite, even though I could smell small whiffs of Ned Ludd. I learned that Cleen has “three computers and an iphone.” Cleen also recognizes the disadvantages of that era: “lights caused fires and people threw their trash out the window.” But there is still a soupcon of romantization of an earlier era, which seems not only nostalgic, but also appreciative of the bygone ethos of the American Dream. Even the brief story he told about himself, his brother and their mother moving out west from Iowa to California seemed very Steinbeck. But all this simply added to the splendorous aesthetic and personality of his tattoos: folksy, like patchwork quilts.
Cleen has never been to art school and never wanted to be an artist. Even now he doesn’t consider himself an artist: “I like to come up with ideas and put things together… I’d rather have a good idea than a good drawing.” At one point Cleen wanted to become a cop – a revelation that illustrates the merit of his character – something about cops having “the guts to defend something.” And Cris Cleen certainly is protecting something: his integrity. Cleen is not a people pleaser and has never had a problem speaking his mind: “I don't want to be suicidal when I'm 30 because I've been a people pleaser all my life.” Whilst most kids “were fucking off and spending their parents money” Cleen, in his early 20s, had a career – he started tattooing right after he turned 19. Cleen doesn’t really know what drew him to the world of tattoos, he had “no frame of reference,” but admits that after seeing flash art for the first time he became fixated. Cleen mentioned that something about the random smattering of images, the “dichotomy of a skull and a rose next to each other,” sold him right away. You could say that tattoos were Cris Cleen’s calling.
Cris Cleen appreciates the “folk sensibility” of tattoo art and theorizes that the commercialization of tattoos has made them too polished, and that “over stylization is dead.” Cleen likes to stick to stuff “that’s always going to be beautiful…like roses and girls.” In that sense, Cleen is a constant pursuer of timelessness. He sees tattoos like permanent jewelry…adornment, not defamation of the flesh. Cleen stays up late into the night working on his drawings for his clients. He doesn’t try to appeal to the “tattoo collector,” but to the “every man” who simply wants a beautiful tattoo. And Cleen doesn't like that the tattoo world overplays the working class persona. Cris Cleen is not a working class hero. Cleen considers himself more a part of an elite trade of craftsmen more than anything. Which brings us back to the new niche aesthetic of the misfit tattooist: here in the second decade of the 21st century there is a full on revolt against some of the most common iniquities in the annals of tattoo history, like tribal tattoos and Geiger inspired machinery. Cleen mentioned some of his influences, which date back to the turn and early 20th century, from whence he culls a lot of his inspiration, like Saturday Evening Post and pre-Norman Rockwell illustrator J.C. Landecker and Norman Lindsey, the Australian artist who was ostracized for the overtly sexual nature of his art, and for living with more than one woman. For Cleen, in art, there is a certain power and lust. What is male desire? The countenances of the woman depicted in Cleen’s tattoos all have an underworld quality…. as if they live in a dark velvet room in a constant state of indecency…disrobed…. sprawled out and ravaged.
Last Monday was my sister’s 25th birthday. Cris Cleen and I, after a weeklong email thread that stretched into twenty or so messages, decided upon simple design: a simple rose. When I got to the shop I asked him to put my sister’s name below the rose and he obliged. The tattoo came out beautifully. Cris Cleen’s tattoos are like precious permanent keepsakes…
Cris Cleen will be tattooing New York at Saved Tattoo during the month of March and back at Idle Hands Tattoo in San Francisco after that. Text & Images by Oliver Maxwell Kupper.